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It scarcely needs pointing out that “nostalgia” has become a highly contentious battleground in recent years. Since the European Union referendum and the election of Donald Trump in 2016, a backwards-looking retreat into regressive nationalist mythologies has been widely understood as ideologically symptomatic of liberal democracies still reeling from the economic implosion of 2007–2008. Typically seen as a reactionary tendency of the political Right, the nostalgic amnesia of the progressive Left is equally self-evident in sentimental mourning for both the pro-hegemonic Obama presidency and the UK’s membership of a market-driven European Union. It would be a mistake, however, to understand this brand of nostalgic regress as simply a post-2016 phenomenon. As Simon Reynolds points out in Retromania, the “end of history” has heralded a neurotic preoccupation with the past. “Instead of being about itself,” Reynolds muses, “the 2000s have been about every other previous decade happening again all at once: a simultaneity of pop time that abolishes history while nibbling away at the present’s sense of itself as an era with a distinct identity and feel” (x–xi).

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Netflix Nostalgia: Screening the Past on Demand, edited by Kathryn Pallister, and The Aesthetics of Nostalgia TV: Production Design and the Boomer Era, by Alex Bevan